It’s as if Gibbs and his circle of producers-as well as engineer and longtime collaborator Sid “Speakerbomb” Miller-discovered another constellation while sitting atop the kush clouds.Įarlier this week, Gibbs dropped by the VICE office in Venice, California. And all of it occurs over music that expands the sonic boundaries of gangsta rap. The glassy-eyed introspection and reflection of last year’s Madlib produced Piñata are present, but the regret has largely been shelved, supplanted by a level of swag that would leave Soulja Boy reeling. “Fuckin’ Up the Count”) on songs like “Careless” and “Basketball Wives,” his crooning qualifies him to be the sixth member of Bone Thug-N-Harmony. “I wanted either all bad reviews or all good ones.” To that end, the rapping is markedly melodic, his Midwestern double-time infinitely more fluid and his inflection continuously varied (e.g. It’s a telling moment on what is Gibbs’ most mature album yet, one that shows off his penchant for densely written verses, his impressive rapping technique, his knack for melodic hooks à la Bone Thugs and Z-Ro, and his astute ear for both sample-based and synthesized beats.“I just wanted to make something that people were either going to love or hate,” he told me, adding that he wants to be seen in the same category at the end of the year as the Futures and Drakes. Specifically, he samples Uncle Snoop’s correct observation that Gibbs, following the likes of Will Scrilla and the Grind Family, CCA, and MCG’z, has given Gary, Indiana hip-hop more of an identity than any artist before him. “At one point on his third album, Shadow of a Doubt, Freddie Gibbs samples a clip of his June appearance on Snoop Dogg’s beloved GGN series. In his review of the album, Michael Madden writes:
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